第4話

The day after the orchestra, at Flux Studios, Yvette plugs in for the guitar overdubs, and before a single note gets printed, Fab builds an escape hatch. The guitar splits into a clean DI recorded raw, then runs through UA's Ruby into her board, with the full wet stereo captured back through two Radial DIs. Every setting gets memorized. Anything can be punched in, or re-amped later through the exact same rig.

Then Yvette walks the board, pedal by pedal: fuzz before compressor, the buffer argument and what impedance actually does, a feedback generator for whale and alien noises, an 80s DD3 for stutter, and two delays doing two different jobs. One is rhythmic and dramatic, one is used as textural reverb, because delay adds harmonic character in a way reverb does not. Plus the rule that decides the whole layout: stereo effects go last, or they get summed back to mono and you have wasted them.

The episode turns on one question. Does the amp belong at the front of the chain or the end? They try it both ways, listen, and move the Ruby to the end like a real amp. Yvette's drive sound changes completely. Also: a Walrus tuner with Shrek on it, and the difference between a studio pedalboard and an Instagram pedalboard.